Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Afghanistan and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Pop Group to the electroclash kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Ice-T. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker + Sunn O))),
The Star Department,
Second Layer,
Dark Day,
The Alarm Clocks,
The Offenders,
Newcleus,
Country Joe & The Fish,
Susan Cadogan,
Girls At Our Best!,
Clear Light,
Moss Icon,
The J.B.'s,
The Skatalites,
The Real Kids,
The Five Americans,
Spandau Ballet,
Banda Bassotti,
Sun Ra,
Liaisons Dangereuses,
June Days,
Davy DMX,
10cc,
Graham Central Station,
Qualms,
Sticky Fingaz feat. Raekwon,
The Saints,
Avey Tare & Kría Brekkan,
R.M.O.,
Vladislav Delay,
Siglo XX,
The Pretty Things,
MDC,
Be Bop Deluxe,
Erykah Badu,
The Leaves,
Bauhaus,
Eve St. Jones,
Man Eating Sloth,
T.S.O.L.,
Frankie Knuckles,
Half Japanese,
Marc Almond,
The Mummies,
Vainqueur,
Arthur Verocai,
Basic Channel,
Hot Snakes,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
Marcia Griffiths,
Subhumans,
Moebius,
Rufus Thomas,
Metal Thangz,
Pagans,
Absolute Body Control,
Marine Girls,
Electric Light Orchestra,
Harry Pussy,
Oblivians, Oblivians, Oblivians, Oblivians.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.